The Sin of Madelon Claudet (1931)

In honor of Mother's Day, I wanted to give a brief shout-out about a touching little pre-code tearjerker I caught recently.  The Sin of Madelon Claudet,  from 1931, is what I call a "mommy" movie---you know, a movie in which a mother's sacrificial love for her children shines through. The film, which is adapted from Edward Knoblock's play The Lullaby, stars Helen Hayes, with Lewis Stone, Neil Hamilton, and Robert Young taking on supporting roles. Miss Hayes' husband, Charles MacArthur, was the co-writer of the screenplay.

After her lover (Neil Hamilton) returns to America and is railroaded by his family into marrying a more suitable woman, French farm girl Madelon Claudet (Helen Hayes) gives birth to their illegitimate son. By becoming the mistress of the wealthy Carlo Boretti (Lewis Stone)--who unknown to Madelon is a jewel thief--- she is able to send money to the friends who are caring for the little boy.

A few years later, just as Carlo---who has known about Madelon's child's existence all along---is about to marry her and bring the youngster to live with them, his real identity as a jewel thief is discovered.  Rather than go to jail, Carlo shoots himself, leaving Madelon unable to prove that she was not his accomplice. Convicted, she is sent to prison for ten years.

Upon her release from prison, Madelon wants to spare her son the shame of having a "jailbird" mother, so she allows him to be told that she has died. Wanting to do all she can to give the boy a good future, Madelon falls into prostitution, providing her earnings to a friend who sees to it that the young man goes to medical school.   Years later, when Madelon is very old and sick and her son (now played by Robert Young) is a successful doctor, their paths cross again.

The Sin of Madelon Claudet is definitely worth seeing.  While the subject matter (illegitimate children) is, of course, dated, the story of a mother's sacrificial love is timeless. Helen Hayes---in what is essentially her film debut---is brilliant in her portrayal of Madelon, and that is not just my opinion.  The Academy thought so too, for Miss Hayes' performance graced her with a Leading Actress Academy Award win. Also worthy of mention is Lewis Stone's performance, as well as the work of the makeup artist.  The job of aging Miss Hayes, who was 30-years old at the time of filming, was spectacularly done. I highly recommend this film and am going with 4 stars on it.

Out on DVD, this film ought to be fairly easty to track down.  I do hope you get a chance to see it.

Happy viewing!

To Stay in the Sun

The Great Imaginary Film Blogathon begins today over at Silver Scenes.  A "wishful thinking" event, this blogathon gives us the chance to do whatever we can imagine with a film. We might make a movie that's never been made, shake-up the cast of a perennial favorite, even use a different director or locale.  In my case, it's about imagining a non-existent scene in my all-time favorite movie. With nearly two dozen participants, this is sure to be a fantastic blogathon. Go HERE to visit all the other entries.

As stated, my addition to this terrific blogathon is a scene I've imagined from my all-time favorite movie, 1951's A Place in the Sun. Starring October's star of the month (and one of my most beloved guys), Montgomery Clift, Elizabeth Taylor, and Shelley Winters, this George Stevens film won six Academy Awards (including Best Director for Mr. Stevens) and was nominated for three more.  I absolutely love love love this movie, and no matter how many times I watch it, I always wish it had a different ending than it does.  While I'm not one for spoilers and almost never give any, because of the scene on which my story is based, I will be letting out a bit of the story.  So, if you haven't seen A Place in the Sun, be warned---there are spoilers in this post.

You can read my full synopsis and review of this fantastic movie HERE.  However, for purposes of my imaginary scene, all you need to know is that I see Montgomery Clift's character in a sympathetic light.  While some (make that most) people I know consider George Eastman as no good and rotten to the core, I don't see him that way at all.  Since we're not privy to what is actually going on in George's mind in that very pivotal scene on the lake, I've imagined what he might be thinking.  Of course, my scene---had it actually been a part of the film---would give me the different ending I so desire. When George took the stand in his murder trial and was grilled by none other than beloved Perry Mason in a prosecuting role, these events would have been recalled, proving that Alice's death really was an accident.  While many of y'all may not agree, that is okay, as it seems I often march to the beat of my own drum. So, alone on the planet or not, this is how I see George Eastman.

After a long, hot summer, the early September evening air felt chilly----downright cold even---to George Eastman as he paddled the shabby canoe on the far side of Loon Lake.  A shiver racked George's body, but it wasn’t just the setting sun’s lack of warmth which brought about the shiver.  No, it was much more than that…it was the venomous, coldblooded thoughts coursing through his mind.

Like the proverbial “life flashing before the eyes” final thoughts of a dying man, the pictures flashing through George Eastman’s mind were coming fast and furiously…instantaneously almost…one right on top of the other.  Barely three minutes had passed, but an entire summer’s worth of living had been re-lived in his mind, bringing him to his reason for being on a remote lake just as the sun was setting.

Angela…her exquisite beauty had captivated him from the moment he saw her.  Never had he seen such a stunning creature; truly, she took his breath away.  Yet she hadn’t even noticed him…hadn’t given him the time of day---at first.  God must have been looking with favor upon him, though, because the next time he saw her---at the party at his uncle’s house---she had not only noticed him, but she had talked with him…and danced with him for hours.  By the time the evening ended, George knew there could never be any other woman for him---he was completely, totally, and forever in love with Miss Angela Vickers.

They saw each other again, and to the utter shock of a poor boy such as he, Angela---in all her beauty and wealth---loved him in return.  What he had ever done to be given such a gift, he didn’t know.  All he could do was thank his lucky stars that he was given it.  With Angela by his side and in his arms, life for George promised to be pure bliss.

George’s delirious joy---and the vivid image of Angela’s stunning beauty---was immediately eclipsed by the picture of another face…one which he did not love and, in fact, had come to hate.  He had never loved Alice…not for a minute.  She had been nothing more than a kindhearted person with whom he could spend time.  God knew how lonely he was…how starved for friendship…for someone to talk to.  Moving to California to take a job at his uncle’s factory, George had expected to be welcomed into the family fold…to be a part of their social circle.  Alas, nothing could have been further from what he got.  While his uncle gave him a job at the factory---feeling obligated to, no doubt---friendship with the family was not part of the deal.  They looked at him as the poor relation, and George knew it.  He wasn’t good enough to run in their social circle, so they ignored him….tended to look right through him as if he wasn’t there.  But George was there, and he was desperately lonely.  How he longed for a friend…and Alice offered that friendship.

He had never loved Alice…he had liked her, yes, but he had never loved her, and he had never lied and told her that he did.  So how it was that they ended up in bed together, he was never sure.  Just loneliness, he guessed….loneliness which engulfed both of them.  Things had just gone too far that evening, and he ended up spending the night at her place.  Oh, how he wished he could turn the clock back and relive that night…how he wish he would have walked away from Alice’s apartment before indulging in---as his mother would have said---the sins of the flesh.  It was that one mistake…that one “should never have done it” moment…which was now coming back to haunt him…threatening to rob him of Angela and the happiness he knew with only her.

A new image moved into George’s mind….that of a baby.  He couldn’t believe his one night of passion with Alice had resulted in pregnancy.  And now she was insisting that he marry her…something he did not want to do…something he could not do.   To marry Alice would be to lose Angela forever, and he would just as soon die as be without her.  Angela was his reason for living, his sun, moon, and stars all rolled into one.  To be separated from her would be more torturous than anything he had ever known.  If only there was no baby…if there was no Alice.

No Alice…well, there was a way to remove Alice from his life, and the image of that moved into George’s mind.  He knew Alice couldn’t swim, and it was for that reason that he had come up with the plan to take her out in a canoe.  It was easy...all he had to do was capsize the canoe and Alice would drown.  He would swim to safety…back to Angela.  Alice would die on the far side of Loon Lake, and no one would ever be the wiser…no one would know that it wasn’t an accident…no one would know that George, in fact, had murdered her.

With the word “murder,” the image of his devoutly religious mother came to George’s mind.  She and his late father had devoted their entire lives to the call of God, and they had instilled a knowledge of God’s Word into their son.  Commandment Number 6, “Thou shalt not murder” filled his mind.  It was a sin to kill someone, George knew that.  But, his mind argued, no one would ever know it was murder; they would think it was an accident, and George would be in the clear.   On the heels of that thought came Jeremiah 16:17,  “I am watching them closely, and I see every sin.  They cannot hope to hide from me.”    Someone would know what he had done.  While he might be able to hide the truth from everyone else, and while he might even be able to deceive himself, he could not pull the wool over God’s eyes.  Even now, God could see the evil that was in his heart.  God would always know that he had broken the commandment against killing, and no matter where he went, no matter what he did, he would never be able to hide from God.

Brokenhearted because he knew Angela would be lost to him forever, George realized that he couldn’t go through with his plan…he could not murder Alice.  It was one thing to hide his actions from everyone else, but it was entirely another thing to hide from God.  To stay in the sun---that beautiful, warm, radiant, breathtaking place he knew with Angela---would require him to try to hide from God for the rest of his days, and he knew that such an endeavor was futile.  He would have to leave the sun in order to be able to live with himself.

The image of Angela’s beautiful, beloved face and their time spent together moved once more into George’s mind.  “Goodbye, my darling.  I will always love you” were his final thoughts before Alice stood up in the far side of the dilapidated canoe, causing it to tip precariously to one side and then capsize completely, sending them both into the dark waters of the mountain lake.  By the time George resurfaced, Alice was nowhere to be seen…

If you have never seen A Place in the Sun, I highly, highly, highly recommend it.  It is a 5-star, "love it," "can't get enough of it" film for me.  The story is meaty, intense, and thought-provoking; the acting is fantastic---both Montgomery Clift and Shelley Winters received Lead Performer Academy Award nominations for their work here (Monty is spectacular in all of his 17 films, but for me, this is the performance of his career---he is absolutely brilliant); Clift and Elizabeth Taylor are both breathtakingly beautiful; and the chemistry between them is fantastic.  Everything about this film just works perfectly.  And if you throw in my scene, well, you will get the happy ending you long for!

How Green Was My Valley (1941)

Another of the films I caught on the big screen during Maureen O'Hara's recent birthday bash celebration is How Green Was My Valley.  It's hard to believe that upon my first viewing of this film five or six years ago, I quite disliked it.  I wasn't so bored by it that I needed to turn it off, and I certainly didn't hate it, but it was definitely in the "2-star, hard to get through" category for me.  I found it excessively tedious and horribly depressing, and for the life of me, I couldn't understand how in the world it had come away with the Academy Award for Best Picture of 1941.  What a difference a few years makes (or perhaps I should say, "a few generations"), for last week's viewing of that Oscar-winning film was seen through new eyes (or maybe I should say "old" eyes). Deeply and powerfully moved, I loved the film and, without question, moved it to 5-star status.

Directed by John Ford, How Green Was My Valley is a period drama with the terrific ensemble cast of Walter Pidgeon, Maureen O'Hara, Donald Crisp, Sara Allgood, Patric Knowles, Anna Lee, John Loder, Barry Fitzgerald, and a very young Roddy McDowall. Nominated for ten Academy Awards, and coming away with the win in five categories, including Best Picture, Best Director, and Supporting Actor for Mr. Crisp, this heart-tugging film is based on Richard Llewellyn's novel of the same name.

Set in Wales in the late 1800's, How Green Was My Valley is the story of the Morgan family, who live in a small coal mining village.  Family patriarch (Donald Crisp) and his five older sons all work in the local mine at a time when change is on the horizon.  With wages being cut and workers being dismissed, the Morgan sons intend to get involved in the newly-forming unions---a fact which does not sit well with their father.

On the homefront are matriarch Beth (Sara Allgood), daughter Angharad (Maureen O'Hara), son Ivor's wife, Bronwyn (Anna Lee), and young son, Hugh (Roddy McDowall).  Although father and mother bicker regularly, there is deep devotion between them.  Angharad and the local preacher (Walter Pidgeon) have fallen in love; however, not wanting to subject her to the difficult life of a preacher's wife, he steadfastly refuses to marry her.  Young Hugh, after overcoming a near-paralyzing accident, enrolls in a nearby school, where he is regularly taunted and beaten up.  As providing for a family through the mill grows ever more difficult, some of the Morgan sons make the decision to leave Wales behind and to head for America. The remainder of the film chronicles the joys and heartbreaks of this loving, hardworking family.




There is very little that is feel-good about this film.  Quite honestly, it's rather depressing.  But it's well acted, especially by Donald Crisp, Sara Allgood, Maureen O'Hara, and Roddy McDowall. The cinematography is fantastic (and Oscar-winning), quite capturing the gritty harshness of a coal miner's life. Additionally, it's an incredibly heart-tugging story, and I found myself moved to tears on several occasions, all because I identify with it in a deep, powerful, and very personal way---something I did not do when I first watched this film in the mid 2000's.

In the last two years, I have gotten heavily into genealogy, and I have discovered that I, too, have a coal mining heritage.  One of my great-grandfathers and at least five of my 2nd and 3rd-great-grandfathers (as well as several great-grand-uncles) were lifelong coal miners.  While most of them worked in the United States, one of them also mined in England, before immigrating to America in the 1880's. Since the area of England from which he hailed was very close to the northern border of Wales, Donald Crisp's character could easily have been my grandfather, and through most of the film, that is how I saw him. As Mr. Morgan watched his sons leave their homeland and head to America, I pictured my ancestor getting on a ship with his younger children, while leaving his older children and deceased wife behind in England (knowing they would be buried on different continents). Beyond that particular grandfather, one of my other 2nd-greats was killed in a mine accident, and the mine fatalities in the film served to remind me of him; though I never knew that man, his blood runs in my veins. How could I not think of him---and the life he gave up mining coal. The scenes in which the anxious family members hover around the mine opening, awaiting news of those trapped below, affected me deeply and I was very nearly sobbing, as I thought of my relatives who endured similar situations. For those reasons, this film was very personal to me, enabling me to see it through fresh eyes and quite touching my heart. Depressing or not, it is a powerful, deeply moving story.

Out on DVD, How Green Was My Valley should be easy to track down. Additionally, it is on the TCM schedule for Saturday, November 2nd, at 8:00 p.m. (ET).  I hope you get a chance to see it, because it is well worth viewing.

Happy viewing!

The Quiet Man (1952)

Hard as it may be to believe, one of the most beloved of all classic films---1952's The Quiet Man---did not cross my radar until just this past weekend---nearly seven years into my classic film journey. Not a John Wayne fan, I've never made The Quiet Man a priority, despite the fact that nearly everyone who claims to be a classic film fanatic has seen (and loves) this film. Choosing to put my lack of enthusiasm for Mr. Wayne aside, I had always intended to view this film for Maureen O'Hara month; however, when I realized that it was going to be showing on the big screen of Boise's Egyptian Theatre, and introduced by Miss O'Hara herself, I knew that was how I would catch it for the first time.  Wow, what an amazing first-time experience it was---big screen, vintage theatre, 700+ crowd, introduction by Maureen O'Hara.  All those things---plus the stunning scenery, the gorgeous musical score, and the beauty of the story itself---worked their magic on me, and I found myself absolutely loving this film (and even liking John Wayne).  Without question, it is a 5-star film for me---making 8 such discoveries already this year, 2 of which are Maureen O'Hara films.  It's been only 4 days since I saw it, and I find myself with an intense longing to watch it again.

Winner of two Academy Awards (Best Director and Best Cinematography, Color) and nominated for five others (including Best Picture), The Quiet Man was filmed on location in Ireland.  Directed by John Ford, the film stars John Wayne, Maureen O'Hara, and Barry Fitzgerald, with Victor McLaglen, Ward Bond, and Midred Natwick among the supporting players.  Although a romantic drama, there are enough lighthearted, comical moments that the film could be considered a dramedy.

Sean Thornton (John Wayne), an ex-boxer with a past so tragic he has vowed to never fight again, has returned to his native Innisfree, Ireland, after many years of living in America. Desiring to live simply and quietly in the house in which he was born, he approaches the current owner, widow Tillane (Mildred Natwick), about the possibility of her selling.  Although "Red" Will Danaher (Victor McLaglen) had already made an offer for the property, the widow chooses to sell to Thornton instead, which, naturally, causes strife between the two men. Thus, when Sean desires to court Danaher's sister, Mary Kate (Maureen O'Hara), he is forbidden to do so.  While in America it might be acceptable for a young woman to be courted without the consent of her father or brother, in Ireland it is not, so Mary Kate and Sean are unable to pursue a relationship.

With the help of the local matchmaker (Barry Fitzgerald, in a wonderful, memorable performance) and the local preacher and priest, Will is tricked into consenting to a courtship between his sister and Sean, and the two are soon married.  However, when Will discovers he has been set up, he furiously denies Mary Kate her dowry, which while not bothering Sean, greatly upsets his bride. She demands that he obtain her full dowry from her brother, even if it means fighting him to do so. How it all plays out is the balance of the film.



Everything about The Quiet Man is perfect.  The scenery is spectacular---if I didn't already want to visit Ireland, I certain do after viewing this film.   The Academy Award-winning color cinematography captures the country's beauty completely. Maureen O'Hara is simply stunning, and she is terrific in this role.  She's fiery, feisty, and incredibly passionate, and her chemistry with John Wayne is magical---it's easy to see why they were such a successful team. John Wayne (who, as noted, I don't ordinarily care for) is wonderful in his role.  He brings Sean Thornton beautifully to life. I quite love his character---in love with the woman, not the money she will bring into the marriage. Of course, having been living in America and now unused to Irish customs, he has a bit of learning to do. All of the supporting players are wonderful too; I especially love Barry Fitzgerald and Ward Bond.  Finally, the Victor Young score is gorgeous and greatly adds to the charm of the film. The story is incredibly romantic and passionate---sensual even---and all without being trashy.  (If you doubt a film without a bit of nudity or gratuitous sex can be sensual, this scene will change your mind.)

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While The Quiet Man is not going to topple A Place in the Sun from its place as my favorite film of the 1950's, it's not far off.  Definitely, it's in my top 10---probably even my top 6 of the entire 1950's---and in my top 25 of all time.  It's a complete gem of a film, and I cannot recommend it highly enough.  (I only wish you could all catch it on the "big screen" of a beautiful historic theatre, like I did.)

Out on DVD, The Quiet Man should be fairly easy to track down; it would make a great film for St. Patrick's Day viewing . . . if you can wait that long!  (I can't, so even if I do make it my annual St. Patrick's Day movie, I'll be watching it again long before then.)

Happy viewing!


NOTE:  Unless otherwise noted, all photos were obtained from Doctor Macro (HERE)

This Land Is Mine (1943)

Although many people define courage as being fearless---completely unafraid---I don't think of it that way at all.  Rather, I think of courage as being afraid of something, yet facing the object of that fear head-on...not letting it render you powerless or cause you to turn and run the other way. Really, if there is no fear, then it takes no courage to face a situation.  So, for me, courage can only be exhibited in the presence of fear, and that is precisely the theme of 1943's This Land Is Mine. Winner of an Academy Award for Best Sound, this Jean Renoir-directed film stars Charles Laughton and Maureen O'Hara, with George Sanders, Kent Smith, Walter Slezak, and Una O'Connor among those taking on supporting roles.

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Somewhere in Europe, the Nazis are on the march, conquering one city after another. While the citizens of each occupied city are encouraged to trust the new regime, resistance literature urges them to drive the conquerors out, lest they become their slaves. In one such town, the word has come down that several of the school's textbooks have unacceptable pages which must be destroyed.  While timid, milque-toasty schoolmaster, Albert Lorry (Charles Laughton), meekly instructs his students to remove the offending pages from their books, his fellow teacher, Louise Martin (Maureen O'Hara), with whom Albert is secretly in love, vehemently announces that the day will come when she will paste the pages back.

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In the midst of the school day, the air raid siren blares, and the students and their teachers take to the shelter, with Albert's controlling, overbearing mother (Una O'Connor), who lives nearby, joining them. As the planes roar overhead, Albert cowers in his mother's arms.  Later, Albert admits his cowardice to the schoolmaster, who reminds him that the truth can be kept alive if the children believe in them and admire them, because those whom children admire, they will follow; therefore, in order to conquer the Nazis, they all must be the kind of men the children will desire to follow.

Other residents of this little village are Paul Martin (Kent Smith), Louise's brother and a resistance worker, and George Lambert (George Sanders), Louise's fiance, who, unbeknownst to her, is a Nazi sympathizer.  Believing that democratic ideas ruined his country, George wants the "new order" and works in collaboration with them to achieve it.

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When a grenade thrown by a resistance fighter kills two German soldiers, ten of the local townspeople are taken hostage and threatened with execution unless the criminal gives himself up. Albert, eventually, is one of those arrested, and when he is put on trial---and comes face to face with his fear of what the Nazis will do to him---he finds that he is not a coward after all.  With his courage shining brightly in the face of fear, Albert uses the courtroom to inspire people everywhere to keep on resisting the invading evil.



What they call a "propaganda piece," This Land Is Mine is an inspiring, encouraging, well-acted drama.  Made in the middle of the war, when the tide had not yet turned and there was no way of knowing how much longer it would go on, this film was obviously a boost to homefront morale. Mr. Laughton's performance is spectacular...not quite up there with The Hunchback of Notre Dame (which, as I said in a review earlier this week (HERE), I think has to be the performance of his career), but terrific nonetheless.  The way he changed from a cowering bowl of jello to a man of conviction and strength was beautiful to watch.  And his speeches---wow. Such great truth in every word he uttered, and that truth is as relevant today as it was 70 years ago.

Maureen O'Hara is quite wonderful in her role as well.  She brings her fiery, passionate character to life with much believability.  Plus, she's so lovely, and it is always a delight to watch her.  The supporting players---Una O'Connor, Kent Smith, George Sanders, and Walter Slezak---all are very good in their roles.

This Land Is Mine is out on DVD and is available through Classic Flix.  It is also on the TCM schedule for Sunday, November 17th, at 6:15 a.m. (ET).  I hope you get a chance to see it, as it is a very inspiring film.

Happy viewing!

Princess O'Rourke (1943)

Princess O'Rourke, from 1943, is a sweet little romantic comedy starring Olivia deHavilland and Robert Cummings, with Jack Carson, Jane Wyman, and Charles Coburn taking on supporting roles.  Garnering an Academy Award win for Norman Krasna's screenplay, Princess O'Rourke is somewhat like Roman Holiday, in that it is the story of a royal-blooded heroine falling in love with a common man.

Having been run out of her European country due to Nazi activity, Princess Maria (Olivia deHavilland), along with her uncle/guardian (Charles Coburn), is living in a New York hotel. Because Maria is of an age where she is expected to fulfill her duty to marry and have children---boys preferably---eligible men are continually calling on her.  Not attracted to any of the "acceptable" men, Maria is rather bored and unhappy; deciding that a change of scenery might do wonders for Maria's state of mind, Uncle arranges for her to visit a ranch in California.

Flying under the name of Mary Williams, our lovely heroine, in the hopes of catching a few z's and sleeping through the flight, downs far too many sleeping pills.  With bad weather keeping the plane in New York, Maria/Mary has no opportunity to sleep off the effects of the pills, thus, as everyone deplanes, she is out cold.  Feeling responsible for the woman, yet unable to determine where she belongs, pilot Eddie O'Rourke (Robert Cummings) takes her for coffee at a local diner.  Thinking that the slightly-dazed lady before him is simply in need of a good night's sleep, the waiter slips a sleeping pill into her coffee, causing her to pass out completely. Not knowing what else to do, Eddie takes the sleeping beauty to his apartment, where she spends the night.

Eddie and Maria begin seeing each other, but she doesn't tell him the truth about herself.  In fact, she invents a story which has Eddie believing she is a refugee, bound for a housemaid job in California. He asks her to marry him, but much as Maria loves Eddie and wants to marry him, she is pretty sure her uncle would not approve of a marriage between them, so she attempts to break things off.  Unbeknownst to Maria, however, her bodyguard has been following her and reporting back to Uncle, and when Uncle discovers that Eddie is one of nine boys and that his father was one of eleven boys, he embraces such a union.  Only thing is, the couple now has to run their romance according to the rules and regulations of Uncle and royal proclamation...and that poses a problem.  How it all plays out is the balance of the film.



While not a spectacular film, Princess O'Rourke is definitely cute, enjoyable, and loads of fun. Olivia deHavilland is sweet and well-suited to this role---and she's stunningly beautiful! Robert Cummings is delightful.  Jack Carson, who is absolutely not a favorite, is out of character here---and for that reason, he doesn't bug me like he usually does.  Jane Wyman, also not a favorite, is enjoyable in her role as well.  And Charles Coburn is terrific.  I got a huge kick out of him, especially as he reveled in the number of male offspring in O'Rourke's family, calling it a "veritable goldmine of boys." Again, this isn't a great movie...it's just a sweet, solid, 3-star film, well worth viewing.

The film is out on DVD, so it should be fairly easy to track down.  Additionally, it is on the TCM schedule for Saturday, August 24th, at 9:45 a.m. (ET).

Happy viewing!!

The Stratton Story (1949)

The career of baseball pitcher, Monty Stratton, is the basis for 1949's The Stratton Story.  With Jimmy Stewart in the title role, and June Allyson as his wife, this Sam Wood film---which won a Best Writing Academy Award---features Frank Morgan and Agnes Moorehead in supporting roles.

The film begins in Wagner, Texas, in the early 1930's, as cotton farmer, Monty Stratton, is pitching for the local amateur baseball team, the Wagner Wildcats.  Agent Barney Wild (Frank Morgan) happens upon the young man and, impressed, informs him that he has a chance to play baseball professionally.  With Barney promising to do what he can to get him a tryout and his cousin agreeing to take care of the farm, Monty heads west to California, where he meets up with the Chicago White Sox.

The Sox are impressed enough to offer Monty a contract, and after a bit of a rough start, he settles in and becomes not only an all-star, but the leading right-handed pitcher in the American League.  With coaches making statements such as "What a future that boy's got" and "Right now, I wouldn't trade him for any other pitcher in baseball," Monty enjoys great success in the years 1934-1938.

At the height of his career, though, tragedy strikes, as, while on his property hunting, Monty's gun discharges, sending a bullet into his leg.  In order to save his life, doctors must remove Monty's leg; for a man whose legs are his life, the loss of the limb is a bitter blow, and for a time, Monty is overwhelmingly depressed and without a will to do anything.  Eventually, however, he comes to terms with his handicap and, with a prosthetic leg, seeks to pitch in the big leagues once more.



The Stratton Story isn't a spectacular movie, but it is interesting, touching, and inspiring.  I count it among my top 5 baseball movies.  Jimmy Stewart is terrific in the role, and his chemistry with June Allyson is wonderful.  (The two of them would be paired together twice more---in The Glenn Miller Story and Strategic Air Command.)  I adore both Jimmy and June...although I can never watch a single June Allyson film without hearing "Christopher Columbus" every time she utters a word.  (She is and always will be Little Women's Jo March to me.)

A few real-life baseball players make appearances in this film...Bill Dickey, Gene Bearden, and Jimmy Dykes.

Out on DVD as part of the James Stewart Signature Collection, The Stratton Story ought to be fairly easy to track down.  It is also on the TCM schedule for Sunday, July 21st, at 8:00 a.m. (ET).  If you like Jimmy Stewart, baseball, or inspiring, uplifting stories, you're sure to enjoy this.  I give it 4 stars.

Happy viewing!!

Love Me or Leave Me (1955)

Another film in which Doris Day has an opportunity to show that she's more than light, fluffy comedies is Love Me or Leave Me, a musical romantic drama from 1955.  Also starring James Cagney and featuring Cameron Mitchell, Robert Keith, and Tom Tully in support, this Charles Vidor film is based on the life of 20's and 30's singer, Ruth Etting.  The film received six Academy Award nominations in all, coming away with the win in the Best Writing category.

In 1920's Chicago, taxi dancer Ruth Etting (Doris Day), tired of being pawed by men and wanting to embark on a singing career, is hoping for her big break, which soon arrives, in the person of Marty Snyder (James Cagney). Called "The Gimp" because of the limp he has, Marty---who is a local gangster---uses his connections to get Ruth first a dance gig, then a singing one.  Although Ruth's piano player, Johnny (Cameron Mitchell), warns her that Marty is bad news and that his help will come with a price, Ruth blows him off.  She knows she could eventually make it on her own, but since doing so means success won't come as quickly as she wants, she's willing to let Marty pave the way for her.

With Marty as her manager, Ruth soon finds herself on the radio and part of the Ziegfeld Follies. She has become the sensation she always dreamed of being, but Marty, wanting to maintain control of Ruth's career, makes a scene, which embarrasses Ruth and brings her to the place of trying to break from him.  For Marty, though, it's time for Ruth to payoff---he brought her where she is, and he won't be pushed aside any longer.  The two marry and head to Hollywood, where Marty has obtained a picture deal for Ruth.

As the film plays out, Ruth is reunited with piano player Johnny, causing the angry, hot-tempered Marty to explode in a jealous rage.





Neither lead character in this film is particularly likable.  While Day's character is not physically abusive as Cagney's is, I, nevertheless, found her to be an unlikable sort.  Ruth was a user, taking Marty for what he could do for her career, then dumping him when she no longer needed him.  I found it hard to root for her.  Despite unlikable characters, however, Love Me or Leave Me has many other things going for it.

First of all, the acting is brilliant.  Both Miss Day and Mr. Cagney are magnificent. Mr. Cagney received his final Academy Award nomination for his work here, and Doris, while not being recognized by The Academy, was praised by Mr. Cagney.  In his autobiography, Cagney by Cagney, he says "She had matured into a really exceptional actress, and I told her so.  I said, "You know, girl, you have a quality that I've seen but twice before.  There was a gal named Pauline Lord who created the title role in Eugene O'Neill's, Anna Christie, and I'm also thinking of Laurette Taylor.  Both these ladies could really get on there and do it with everything.  They could take you apart playing a scene.  Now, you're the third one."   He further went on to say that "After Love Me or Leave Me, Doris went into the Pillow Talk things, and I for one have always considered that one hell of a waste."  Doris had to be thrilled with those words.  To have James Cagney---whom I think may be the finest actor there has ever been---praising one's abilities has to be almost as wonderful as receiving an Academy Award.

The music in this film is spectacular!  Doris sings close to a dozen songs, including "It All Depends on You" and "You Made Me Love You."  It's always a joy to hear her beautiful voice in song. Additionally, Miss Day's gowns are simply stunning, though definitely not the "girl next door" type fans had come to expect to see her in.  According to Doris's autobiography, Love Me or Leave Me was the film she considered to be her best.

Mr. Cagney was enamored of the script for Love Me or Leave Me at first glance.  According to his autobiography, it was one of those "rare, perfect scripts that needed nothing added to it, nor nothing taken away from it."  It was a role that had at first been offered to Spencer Tracy, who turned it down.  Mr. Cagney never knew why Mr. Tracy had turned the role down, saying that "it was a damned good part."

According to Robert Osborne, when this film was originally in the works, George Cukor was to have directed and Ava Gardner was to have been the female lead.  For whatever reason, those roles went to Vidor and Day, and when Cukor and Gardner saw the film, they were wowed, and Ava said something to the effect of "We made a big mistake" to which Cukor responded, "No, we didn't.  If we had made it, it wouldn't have been that good."

Even if you've never heard of Ruth Etting, this film is definitely worth seeing, especially for Doris Day and James Cagney fans.  It's easily a 4-star film in my mind (more like 4.5...and extremely close to 5 stars).  Out on DVD, it should be fairly easy to track down.

Happy viewing!!

The Man Who Knew Too Much (1956)

Though Doris Day is most commonly associated with musicals and light comedies, she could definitely hold her own (and more!) in dramatic films, as evidenced in Alfred Hitchock's 1956 political thriller, The Man Who Knew Too Much.  Also starring James Stewart, this film is a remake of Mr. Hitchcock's 1933 film of the same name.

Vacationing in French Morocco are Americans Ben and Jo McKenna (Jimmy Stewart and Doris Day) and their young son, Hank.  While on a bus enroute to Marakech, they make the acquaintance of Frenchman, Louis Bernard, and although the man's intrusive questions about their lives are disconcerting to Jo, the McKenna's make plans to meet him for dinner and drinks a bit later.  

After a sinister-looking man comes to his door, however, Mr. Bernard cancels his dinner plans with the McKennas, leaving them to make the acquaintance of a vacationing British couple. Taking to one another immediately, the two couples become friends and even visit an outdoor marketplace together the next morning.

While in the market area, a stabbing takes place, and just before dying, the stabbed man---who turns out to be Louis Bernard---approaches Ben and whispers information about an assassination soon to take place.  Immediately, Ben and Jo are whisked off to the police department, while their new friend offers to keep their son for them.  Although Ben might consider telling the authorities what he knows about Bernard's killing and the man's final message, he is soon made aware that Hank will be harmed if he does.  By the time Ben and Jo return to their hotel (from the police station), Hank has been kidnapped.

It's every parent's worst nightmare, as the McKennas travel from Morocco to England in order to rescue their son, all the while knowing that sometime, somewhere, an assassination will be attempted.  How everything plays out is the balance of the film.



Very suspenseful, with much political intrigue, The Man Who Knew Too Much is an interesting, enjoyable, well-acted film.  Both Jimmy Stewart and Doris Day are extremely believable in their roles, and they play well off each other.  The part of the assassin (Reggie Nalder) is perfectly cast.  With burn scars on his lower face, Mr. Nalder certainly presents a mysterious, almost sinister-looking figure, making him completely perfect for his role.  The Albert Hall scenes are magnificent, with Hitchcock brilliance evidenced throughout.  Finally, there are a couple opportunities to catch Doris Day's lovely, melodious voice, as she sings the film's Academy Award-winning song---"Que Sera Sera." 

Since I have never seen the original version of this film, I can't compare the two.  However, I really enjoyed this and am giving it 4 out of 5 stars.  Out on DVD, it should be easy to track down.

Happy viewing!!

Sunset Boulevard (1950)

In honor of William Holden's birthday, I decided to revise and expand one of the very first reviews I did here at They Don't Make 'Em Like They Used To---1950's magnificent Sunset Boulevard. Directed by the fabulous Billy Wilder, Sunset Boulevard is a mature, hard-hitting drama, which features totally stellar performances by its two stars...Gloria Swanson and William Holden, both of whom were nominated for Oscars for their roles.  Featuring the Academy Award-nominated support of Erich von Stroheim and Nancy Olson, this terrific movie is my favorite William Holden film, my 2nd favorite film of the 1950's, and among my 5 favorite films of all-time.

The story begins when Joe Gillis (William Holden), a down-on-his-luck, unemployed Hollywood screenwriter receives a visit from the men who have financed his car. (Actually, this isn't where the story begins, but it is the point from which I am starting.) With no payment in hand, and no job on the horizon, Joe attempts to evade the finance guys, and in so doing, he races down Sunset Boulevard in said car. After blowing a tire and realizing he needs to hide the car from the men who want to repossess it, Joe pulls off the road and into the garage of a dilapidated, abandoned-looking old mansion.

Before long, though, Joe realizes the house is not abandoned. Someone is peering at him from an upper window, and a butler is standing at the door as if he had been expecting Joe's arrival. Joe is whisked to a second-story bedroom, where he comes face to face with an eccentric middle-aged woman and her deceased chimpanzee. After assuring the woman he is not the undertaker she had been expecting, Joe attempts to leave, but then he realizes that he actually recognizes the woman...she is Norma Desmond, a major star from the silent era of movies (Gloria Swanson).

Norma lives in the past, surrounding herself with her old movies and dozens of photos from her "golden years." Stating that she is planning a "return" and not a "comeback," Norma mentions to Joe that she has written a script (in which she will star), and after discovering that Joe is a screenwriter, she requests that he do some editing for her. Not really wanting to be in the presence of this strange lady and her even stranger surroundings, Joe's initial response is to turn down the job offer; however, knowing that he really needs the money in order to keep his car and pay his back rent, he accepts the position...and is soon living in a room above Norma's garage and then eventually in a room adjoining hers in the main house.  Also living in the house is Norma's devoted, ever-present butler (Erich von Stroheim).

It's not long before Joe is quite unnerved by the situation in which he finds himself. Norma has become extremely possessive and controlling, barely allowing Joe out of her sight. She is buying all his clothes and paying his back rent. In short, he is a "kept man"...kept by a woman nearly twice his age...and he is uncomfortable to the hilt. Finally, on New Year's Eve, when he discovers that the "party" he thought Norma was having is just for the two of them, he storms out...ending up at a party a friend is having. Free from Norma's clutches, he enjoys a time of partying with people his own age. Joe's freedom is short-lived, however, as Norma's butler tracks him down and tells him that Norma has attempted suicide. Feeling guilty that Norma has attempted to kill herself due to her unrequited love for him, Joe returns to her house and ultimately begins an affair with her.

Since Norma continues to be determined to make a return to the screen, she and Joe make a trip to Paramount Studios, where she can visit with movie producer, Cecille B. DeMille. While at the studio, Joe runs into a girl he had been talking to at his friend's New Year's Eve party. She tells him she wants to re-write one of his scripts, and the two begin meeting together in the evenings to do that. In time, they begin to fall in love, but Norma, desperately jealous, will stop at nothing to keep Joe to herself.  How it all plays out is the balance of the film.



An amazing movie, Sunset Boulevard was one of the most honored films of 1950.  In all, it received 11 Academy Award nominations, including Best Picture, Best Director, Lead Actor, Lead Actress, and both supporting categories.  In the end, as 1950 was also the year of All About Eve, Sunset Boulevard came away with only 3 wins, one of which was for Best Music (Franz Waxman).  Much as I like All About Eve, I think Sunset Boulevard was the superior film.  I also believe this to be the absolute best performance of William Holden's career (and he had many great performances, including one which won him an Oscar).  Since I grew bored with Cyrano de Bergerac and turned it off after less than 20 minutes, I have been unable to determine how Jose Ferrer snagged the Lead Actor win that year.  Although I'm not familiar with any of Gloria Swanson's other works since she was mostly from the silent era, I was beyond impressed with her performance in Sunset Boulevard. After seeing the works of each actress that year, I readily admit the Academy had a tough job in choosing the winner, for they all were fantastic.  In the end, though, I have come away believing that Eleanor Parker ought to have won for Caged, with Miss Swanson only a tiny breath behind her.  Her acting is completely and totally brilliant!

Out on DVD, Sunset Boulevard should be quite easy track down.  Additionally, TCM airs it very regularly---seems like about four or five times a year.  Definitely try to see it when you can.  It's not a feel-good movie, but it takes an honest look at not only the Hollywood climate, but at how most of us feel about growing older in a youth-oriented culture.

Happy viewing!!

The Pride of the Yankees (1942)

While football may be the new favorite sport of most people, my family remains firmly in the baseball camp.  Yes, we do love college football, but when it comes to professional sports, baseball---especially Boston Red Sox baseball---is where it's at in our house.  For that reason, we gravitate to baseball films, and my favorite, bar none, is 1942's The Pride of the Yankees.  Starring Gary Cooper and Teresa Wright, this 5-star film tells the story of baseball great Lou Gehrig, who as probably everyone knows, was struck down with ALS---the disease which now bears his name---in the prime of life.

The movie begins when Lou is about ten, and it chronicles his early baseball years, his hazing by the team, his courtship of Eleanor, his "Iron Horse" years, the beginning of his descent into the world of ALS, and ultimately, his "Luckiest Man" speech.  While the film has many comical moments, at its core, it remains the story of a man afflicted with a devastating illness. 

As my regular blog readers know, I am a mega-huge Coop fan. It's rare that I don't like one of his movies, rare that I don't like the character he is portraying. But this film is just about my absolute favorite. The Pride of the Yankees is my third favorite Cooper film, behind only Mr. Deeds Goes to Town and Ten North Frederick.

Coop and Teresa Wright, who would be paired together again two years later in Casanova Brown, have terrific chemistry in this movie.

Both Cooper and Wright were nominated for Academy Awards for their performances here. Neither won; however, Teresa was also nominated in the Best Supporting Actress category that same year, for her role in Mrs. Miniver, and she did win that Oscar.  In all, The Pride of the Yankees received 11 Academy Award nominations, coming away with the win in the Best Film Editing category.

In my mind, The Pride of the Yankees is not only the best baseball film of all-time, but it is a delightful breath of fresh air. In this day of scandalous baseball, with its obscene salaries and rampant steroid use, we need to be reminded of what a "true baseball hero" Lou Gehrig was. He was an honorable man both on and off the field. Instead of whining about the devastating hand he had been dealt, he exhibited strength and courage in the face of great adversity. Our world needs more men like him. I think this film ought to be required viewing for today's professional athletes (along with 1950's The Jackie Robinson Story).

Besides Cooper and Wright, the film also features Walter Brennan and Dan Duryea.  And the legendary Babe Ruth takes to the screen too, playing himself.  In my Red Sox-lovin' household, a watching of this film provides my one and only allowed opportunity to look positively on a man wearing the Yankee pinstripes.

A definite must-see, The Pride of the Yankees is out on DVD, so it should be very easy to track down.  Do keep the tissues handy, as you're sure to need them.

Happy viewing!!

Body and Soul (1947)

A discussion of John Garfield's career would be incomplete without mention of Body and Soul, the noir-ish 1947 boxing drama for which he received his only lead actor Academy Award nomination. As such an important film in his career, it ought to have been highlighted in the recent blogathon---and it was scheduled to have been included.   In the end, however, the blogger scheduled to highlight that film was unable to participate; thus, I have re-worked my 2-year old review of the film, in order that Mr. Garfield's centennial year see a spotlight on that all-important film here at They Don't Make 'Em Like They Used To.

A 5-star film for me, this 1947 Robert Rossen noir, which won the Academy Award for Best Film Editing, explores the corrupt world of professional boxing.  Also starring Lilli Palmer, this film features Anne Revere, Canada Lee, Hazel Brooks, and William Conrad in supporting roles.

The son of a candy store owner, Charlie Davis (John Garfield) wants big things out of life.  Telling his mother (Anne Revere) that he doesn't want to end up like his father---just getting by---Charlie sets out to pursue a boxing career, and he soon wins an amateur boxing championship.   His mother, however, doesn't approve of her son behaving like an animal, and, wanting him to be something worthwhile, she begs Charlie not to pursue such a career.  Initially, Charlie complies with his mother's request; however, when his mother is forced to seek charitable relief after his father's death at the hands of gangsters, Charlie changes his mind.

With the encouragement of his girlfriend, Peg (Lilli Palmer), who tells him to fight if he wants to fight, Charlie goes on the prizefighting circuit and finds great success.  Before long, wealth and lavish living come his way, but they come with a price---his very soul.   With a corrupt manager dictating his every move, Charlie not only refuses to listen to the warnings of his family and friends, but he also postpones his wedding to Peg, and as he gets in deeper, Charlie finds himself having to enter the ring with men of questionable health and even to throw a fight if told to do so.  Saying brutally unkind things to his mother and Peg, he pushes them away.

As Charlie is about to fight in the championship---a fight he has been instructed to lose---he becomes aware that the people in the candy store neighborhood---despite being poor--- have bet on him...not so much for the money but as a way of saying they are proud of him.  With this crisis of conscience, Charlie enters the ring.  Will he do what he's told and throw the fight?  Or will he defy the powers-that-be, give the fight his all and, thus, regain his self-respect?  Those are the questions which play out in the remainder of the film.



Body and Soul is an interesting, exciting film, featuring great performances by all.   This is one of John Garfield's most brilliant performances.  (I think he was almost always brilliant in his portrayals.)  He brings incredible realness and passion to this role.  Because of a heart condition, Mr. Garfield was usually under doctors' orders to take things easier, but determined to do his own fight scenes and not rely on a double, he ignored the advice and took "sparring lessons from Mushy Callahan."  His preparation for the role only added to the film's incredible realism.  It is absolutely no surprise that he received a Lead Actor Academy Award nomination for his work here.

Anne Revere was terrific; the scene in which she humbles herself to ask for welfare relief is particularly poignant.

Lilli Palmer---lovely as always--was very good and believable in her role as well, and she and Mr. Garfield had great chemistry with one another.

Even William Conrad, as one of the boxing "heavies," was great, as was Canada Lee, in his role of Charlie's opponent-turned-friend.  Beyond the acting, was the gritty realism of the boxing ring and the corruption of the sport.  Interestingly, at the time of the film's release, the corruption in professional and amateur sports---especially boxing---was under investigation and receiving much press coverage.

Two other boxing movies which I also greatly enjoy are The Set-Up, (starring Robert Ryan, reviewed HERE)  and City for Conquest (starring James Cagney, reviewed HERE).  All three films ought to satisfy the boxing enthusiasts out there.  Body and Soul is out on DVD and should be fairly easy to track down. For Garfield fans, it's an absolute must-see.

Happy viewing!!